Discursive psychology

There is a very interesting prospect in this piece of communication where the sender is Comedy Zoo. It relates to whom it is signed by, and how that forms the communication, the category entitlement and the footing especially.

Going through the statement in chronological order, the message starts by going

"comedians are also fans of comedy. That and much more do we have in common with our audience" (Appendix 2). The first sentence alone is just a blank statement, which essentially means nothing for the message. However, it is followed up by a sentence where words like "we" and "our" are present, which makes it a very close footing to the audience in this case. The audience who are also the customers, and the ones this message is targeted at. Creating a close footing is something that may create an emotional and a relational understanding or sense of togetherness between sender and receiver.

The message rolls on momentum from the close footing established by the use of

historical crisis together…” (Appendix 2). Once again, a very close footing and in this case, the footing is creating a common battle. Basically, it is saying that both sender and receiver have stakes in this. Knowingly having something vested, increases motivation to participate.

Having set the scene, the second paragraph starts by going in a different direction.

"Comedy Zoo decided to close on March 12 even before it was required".

Suddenly, there is a change of footing in the message. It is no longer "we", but it was Comedy Zoo who closed, and it was done before it was required. In this sequence, they wish to gain some acknowledgement of their decision making and at the same time get some validation for their choice to close. Well, this following paragraph will be full of these differentiations between "Comedy Zoo" and "We".

This is due to the fact that the six owners signed that message. Whereas the first paragraph was the owners speaking as comedians and owners, this paragraph starts by being about their company, Comedy Zoo. This creates a distinction between the owners who are taking various roles in the arena. They are both the comedy club, comedians and the fans. Therefore, they establish a wide footing when the company as an entity is doing something.

The next sequence we are back to the close footing and due to the prior close footing created, they generate a feeling of we are all suffering from this problem.

This sequence has two different elements which are very crucial to the message.

It is a mixture of category entitlement and playing the card of being a victim. The category entitlement is showcased through the sentence "Our beloved place, which has discovered and developed so many comedian talents is bleeding"

(Appendix 2). What they are saying is that the place all of us love (being Comedy Zoo) is an accomplished brand which is now hurting.

Additionally, they continue by talking about how they have never received any financial support despite being accomplished. They take this victim role and underline it to be something which is not only related to the COVID-19 pandemic but also prior to the crisis, where they did not get any support. This section is a segue to them getting to the point of their message, the call to action. The segue is an excuse and a validation of why they have a right to ask for the help of their customers or fans. Although how the message has been written, the customers,

the comedians and Comedy Zoo are all in this together, so basically Comedy Zoo is asking the reader to help themselves by helping Comedy Zoo.

Having already touched upon the call to action, this is the essential part of the message, and all prior has been the motivation one should have for helping.

“There is a way where you can support, and it really does not cost you anything.

By buying a gift certificate - or multiple as a present to your friends, you ensure two things: Comedy Zoo gets waaay better chances of surviving this crisis, and you get something to look forward to” (Appendix 2).

Once again the footing becomes relatively distant when it becomes "help Comedy Zoo" and not "help us". It may be due to the previous establishment of Comedy Zoo being this entity, which we all (Owners, employees, comedians and customers) feel connected to. Therefore, we need to help this entity as it was an animal hurt on the side of the road. Additionally, the message always plays on the own benefit of the people who decide to support.

As the final remarks of the message, they re-emphasise the stakes by stating.."When we are able to return from this crisis, it is a matter of having something to return to" (Appendix 2). Ending the message strong by addressing the seriousness of this matter and saying that there might not be a Comedy Zoo on the other side without support. Those are the stakes and the readers of this message, being the comedians and customers are vested in these stakes being reliant on this place for either income or entertainment.

Essentially, Comedy Zoo admits defeat and ask for help. They literally say, they will not survive this crisis without help from its stakeholders. The approach correlates with Anders Elleby's points "A smaller company could easily play with open cards and say we need help to survive...However, there is a risk of admitting that you are financially unstable...Nevertheless, it is something people will understand" (Appendix 1 L. 55-59). The approach highly emphasises the use of pathos, yet there is a slight bit of logos appeal when referring to their